C200: Decisions... C300 MKII OR C200

chris f said:
One note I'll add - If you mostly do post on your own stuff and keep the production to post-production workflow in house, the C200 is fantastic. If you're mostly being hired as a day player to shoot and hand off cards, I'd strongly consider the C300MKII. For the past year every project that I've been hired to only shoot has been the first C200 project for that client and/or their editor and it's been a pain. Now that Canon finally fixed the proxy workflow with the firmware update I'm hoping that will smooth everything out, but not having timecode sync capabilities has made me feel like the amateur who showed up to a pro set with a canon rebel on more than one occasion.
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I'd a 100% agree, in house then it almost doesn't matter what camera, just go with what you like!

But if you're mostly a freelance camera op then by far the best choice from Canon would be the C300mk2, heck even the older C300mk1 might maaaaybe make more sense to own in this situation than a C200.

Or even the Sony FS7, which is by far the most popular low/mid range camera right now.
 
chris f said:
One note I'll add - If you mostly do post on your own stuff and keep the production to post-production workflow in house, the C200 is fantastic. If you're mostly being hired as a day player to shoot and hand off cards, I'd strongly consider the C300MKII. For the past year every project that I've been hired to only shoot has been the first C200 project for that client and/or their editor and it's been a pain. Now that Canon finally fixed the proxy workflow with the firmware update I'm hoping that will smooth everything out, but not having timecode sync capabilities has made me feel like the amateur who showed up to a pro set with a canon rebel on more than one occasion.
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Ambient Recording Nanolockit works extremely well ... it is based on the same timecode generator in the Sound Devices units ... and you can sync multiple cameras wirelessly with them. Tentacle sync is another. About $300 for either.

https://www.bhphotovideo.com/c/search?Ntt=ambient recording nanolockit&N=0&InitialSearch=yes&sts=ps
 
I wonder how amenable "pro set" productions are to LTC on audio track post for A cams. Maybe the FS7 cams floating about without the TC adapter plate have forced the issue.
 
docmoore said:
Ambient Recording Nanolockit works extremely well ... it is based on the same timecode generator in the Sound Devices units ... and you can sync multiple cameras wirelessly with them. Tentacle sync is another. About $300 for either.

https://www.bhphotovideo.com/c/search?Ntt=ambient recording nanolockit&N=0&InitialSearch=yes&sts=ps
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Personally I feel the Ultrasync ONEs are the best bang for your buck on the market right now, as they're packed with features/design that simply nothing else out there can match.



 
I have a couple of the Ultrasync One's and I really like them. In fact, I was doing a narrative and handed one off the the script supervisor for note taking. She just stuck it on her notepad so she could glance at the timecode.

I haven't been real interested in testing timecode on an audio track, though. It is an extra step in post and requires owning extra software. I also wouldn't want to hand footage with LTC on an audio track off to a client as I can't imagine how annoyed they might get listening to it on playback, even if I did explain how the LTC track could be used.
 
cpreston said:
I haven't been real interested in testing timecode on an audio track, though. It is an extra step in post and requires owning extra software. I also wouldn't want to hand footage with LTC on an audio track off to a client as I can't imagine how annoyed they might get listening to it on playback, even if I did explain how the LTC track could be used.
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Exactly. If you're handling post, things like Tentacle works great, but unless you've had a talk with the editor before the shoot, handing over timecode on an audio track with instructions to purchase and install software isn't exactly screaming "Hire me again, I'm super easy to work with".
 
There at least is LTC convert (video toolshed) program if you want/have the time to take on the steps to streamline the files before hand off...
 
scorsesefan said:
Ahh. Shot a doc on the water/beach once. Protecting the camera from water and the sound (wind) was difficult. Good luck...
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Yep, my life the past year. So far, have not lost a camera yet and interestingly, most of the sound issues we have encountered have been man made with stupid, damned, inconvenient heavy construction just yards away ON A SATURDAY IN THE SUMMER! It's freaking Saturday, what are the city beaches and municipalities thinking having noisy, inconvenient constuction in progress on weekends during the Summer? When they are trying to drive tourism dollars to their beaches.

Once I could see, but so far, we have been very hosed by sound for post race interviews at San Diego, Marina del Rey, Ventura and Santa Barbara. It's like the sound Gods are purposely trying to sabotage us. Someone's Izotope RX is going to get a haevy workout for this film's sound mix, it's been nearly impossible to avoid heavy, intrusive, disruptive ambient sound issues. Doesn't help also that 3 out of 5 races have been within 5 miles of a major airport but there's not much we can do about that.
 
puredrifting said:
Yep, my life the past year. So far, have not lost a camera yet and interestingly, most of the sound issues we have encountered have been man made with stupid, damned, inconvenient heavy construction just yards away ON A SATURDAY IN THE SUMMER! It's freaking Saturday, what are the city beaches and municipalities thinking having noisy, inconvenient constuction in progress on weekends during the Summer? When they are trying to drive tourism dollars to their beaches.

Once I could see, but so far, we have been very hosed by sound for post race interviews at San Diego, Marina del Rey, Ventura and Santa Barbara. It's like the sound Gods are purposely trying to sabotage us. Someone's Izotope RX is going to get a haevy workout for this film's sound mix, it's been nearly impossible to avoid heavy, intrusive, disruptive ambient sound issues. Doesn't help also that 3 out of 5 races have been within 5 miles of a major airport but there's not much we can do about that.
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Anything that can go wrong, will... As for construction, it seems that Saturday is the new go day for this type of crap. I spent 45 minutes driving 1/4 of a mile here on Sat night for road construction. You would think Sat would be off limits because this is precisely when people are out DOING things :/
 
Thanks everyone.

It is a hard one, I would mis the 12 bit 444 60p from the c500. But I am just sick of the 7Q weight and sometimes laggy features.

What is everyones settings on the C300 MKII? CLOG 2 Production matrix? or CLOG3?

Does the slow mo work in auto focus mode?

I low the c200 but mainly its corporates shooting 2k and maybe 4k eventually but mine are more of a fast turn around so I guess The raw light are more intense workflow.

Thanks
 
ollywood88 said:
Thanks everyone.

It is a hard one, I would mis the 12 bit 444 60p from the c500. But I am just sick of the 7Q weight and sometimes laggy features.

What is everyones settings on the C300 MKII? CLOG 2 Production matrix? or CLOG3?

Does the slow mo work in auto focus mode?

I low the c200 but mainly its corporates shooting 2k and maybe 4k eventually but mine are more of a fast turn around so I guess The raw light are more intense workflow.

Thanks
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I used the ARRI compatible settings for a long time for green screen work (Cinema Gamut, Production Matrix, Canon Log 2), which worked well using the PP CC builtin Alexa LUTs. However after creating setting to match Filmic Skin on the 1DX II I found that it's possible to get much better results using other settings. For example, unless you're in a very well lit space (such as outside), Canon Log 2 is really noisy in the shadows and isn't going to help you in the highlights over Canon Log 3. Now I use completely different settings. For live streaming, Wide DR, for green screen Canon Log 3, and many other tweaks as part of Filmic Skin for the C300 II.

Slomo: 60p DPAF works, in Slow & Fast mode (up to 120fps (crop)), DPAF & audio are disabled.

2K 12-bit RGB 444 is working better for green screen over 4K 10-bit YUV 422.

2K 12-bit RGB 444 scaled to 4K (bicubic) and post-sharpened (PP CC Lumetri) looks very good (a bit less sharpening would reduce specular crunchiness):
In general, even without sharpening, HD videos scaled to 4K will look better on YT due to the higher bitrate.
 
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